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Rebellion in Art, 2006.
A look at how art expressed the rebelliousness of the 1960s and how this rebellion eventually became mainstream.
1,006 words (approx. 4.0 pages), 3 sources, MLA, $ 35.95
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Abstract
This paper examines the artwork of some of the famous artists of the 1960s, explaining that their artwork thrived on the spirit of rebellion that was rampant in the 1960s. The paper further explains that, as contradictory as it may seem, rebellion later became the norm for society and somehow rebellious behavior was "institutionalized".
From the Paper
"The very people who so eagerly embraced the "revolution" were wholly unaware of how completely their newly-broadened horizons were so much like those of everyone else, and how much the limits on these horizons were being set by venal conglomerates in some far off urban landscape; an urban wilderness that was about as out-of-touch with the needs and concerns of Blacks in America, and poor peasants all over the Third World, as could possibly be imagined."
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Impressionism in Western Art, 2006.
An evaluation and discussion of the lives, times and works of Edouard Manet, Claude Monet and Auguste Renoir.
4,718 words (approx. 18.9 pages), 11 sources, APA, $ 121.95
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Abstract
This paper examines works by three artists known for their influence in the period known as Impressionism. The paper presents an overview of Impressionism, the Salon, outdoor painting and color during this period. It also looks at the influence of patrons, women and the culture. The paper presents biographies of the three artists, and finally descriptions and discussions of the three works - Edouard Manet's "Luncheon on the Grass" ("Le Dejeuner sur l'herbe"), Claude Monet's "Luncheon on the Grass", and "Luncheon of the Boating Party" by August Renoir. The paper presents these artists and specific works due to a strong similarity of style and sameness of subject matter.
Paper Outline:
Overview of Impressionism
The Salon
Outdoor Painting
Color
Patrons
Women
Japan
Crisis
The Culture, Times and Trends
Inventions
Biographies of Three Artists of Chosen Works
The Works
Comments
References
From the Paper
"In the 1870s Impressionism was at its height. By the 1880s stylistic differences and personal quarrels came into play. A major contention was who should be allowed to "show" with the group. Degas was eager to include new artists, but others saw it mostly as compromising the purpose of Impressionism. The new, more theoretical works of artists like Seurat and Signac marked the end of the original movement."
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Analysis of Samuel Mockbee?s Artworks, 2006.
This paper looks at the life and works of Samuel Mockbee.
1,366 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper defines Samuel Mockbee as a renowned architect and a great artist and examines the works of Samuel Mockbee which portrayed powerful artworks that test the mind. It shows how Mockbee had a specific talent for portraying powerful themes within his artwork in a subtle and yet obvious method. The paper tells us of the life of Mockbee, who grew up in the rural Alabama region. The author relates that Mockbee dedicated most of his life in the south and, lived through the stages when the south was being confronted with trials and tribulations of the civil rights movement. The author continues the paper with discussions of some of the more well-known pieces of artwork and architecture that Mockbee created. In conclusion, the author tells us that Mockbee's artwork shows characteristics as well as finesse, as he shows why his architecture was always soulful in its own context.
From the Paper
"Charles Moore is a very metaphorical artwork, brilliantly hewn by Mockbee. The overall arrangement of the forms on the picture is centered in the middle. There is no hint of symmetry. The overall patterning shows that the entire surface does not include design elements. The major design element is enlarged and takes a considerable amount of the design surface. The focal point of the picture is leading towards the right as most objects are facing to the right. The hierarchal scale indicates that the rooster/chicken and the figure of the man are most distinguished in the picture, i.e. they are the main source of appeal."
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Bernini and Baroque, 2005.
Examines the art of Gianlorenzo Bernini within the Baroque period.
1,853 words (approx. 7.4 pages), 2 sources, MLA, $ 59.95
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Abstract
Baroque is used as a period label, designating the era that falls approximately between 1600 and 1750 and describes the dominant style in art, music, drama, poetry, prose and life in general at that time. This paper examines the life and art career of Gianlorenzo Bernini, a famous sculpture and artist in 17th century Rome. The paper shows why Bernini's work is representative of the Baroque era.
From the Paper
"In 1644, at the age of 76, Pope Urban VIII died, leaving the Church almost bankrupt. Urban gave Bernini his grandest commissions, and thus it is not surprising that Bernini lavished so much care when he made Urban's tomb, which took him from 1628 to 1647. Urban's authority is symbolized by his position atop the tomb, dispensing benediction to the faithful. Beneath, he immortalizes Urban VIII by writing his name in gold letters on a scroll."
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Impressionist Art, 2006.
Examines paintings by Claude Monet and James Abbott McNeill Whistler to show examples of Impressionist art.
1,236 words (approx. 4.9 pages), 2 sources, APA, $ 42.95
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Abstract
The Impressionist style of art began in the early 1870s. Impressionist artists were often considered radicals because of their huge departures from the conventional art form, content, subject matter and brush stroke technique of previous generations. This paper examines three Impressionist paintings in particular that serve as different examples of impressionistic art: Two works by Claude Monet - "Impression: Sunrise, 1872" and "Bridge Over A Pool of Water Lilies, 1899" and James Abbott McNeill Whistler's "Nocturne in Black and Gold, the Falling Rocket, 1875".
From the Paper
"Whereas Impressionists were known to paint outdoors, in Monet's later painting Bridge Over A Pool of Water Lilies, 1899, the artist would move back and forth into his studio constantly reworking the canvas of this piece. In this part of his Garden Series, Monet created a different example of impressionistic work. In Bridge, there are more layers and the work more complex. Whereas in previous works like Sunrise, where most of the subject matter is blurred out, Monet spent more time emphasizing the different aspects of the lilies in the pond, the bridge and the surrounding foliage in this work. There appears to be the beginning of a departure from the strong early characteristics of Impressionist movement, however the piece still remains under the classification of an Impressionist piece."
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Constanin Brancusi the Artist, 2006.
This paper explores the life, influences and works of one of the greatest artists of the 20th century, Constantin Brancusi.
1,606 words (approx. 6.4 pages), 6 sources, MLA, $ 52.95
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Abstract
This paper contains a concise biographical background of artist and sculptor Constantin Brancusi as well as relevant information regarding his more famous works of art, including: "Endless Column" and "Gate of Kiss." The writer of this paper explores Brancusi's intense expressiveness of abstract form as well as his handling of simplistic and basic themes of nature which garnered him much respect and fame as one of the great artists of the 20th century. This paper also details Brancusi's use of stone, wood and metal, coupled with his personal background and contemporary Romanian themes that evidence his social, political and aesthetic ideas to produce works of art that led to his well-earned reputation as a revolutionary modern artist.
From the Paper
"One example of a personal biographical detail that influenced Brancusi's life was his childhood in Tahiti. Although he was born in Craiova, in Southern Romania in 1876, he spent his childhood and youth in Tahiti. He was born into a large peasant family, and the family maintained its poverty throughout Brancusi's childhood. Brancusi did not go to school, but worked as a herdsman, first watching the family flock, then working for other country people in the Carpathian Mountains. Here, he learned to carve wood by fashioning tools and implements, through a popular art form making spoons, bedposts, or cheese presses, all of which were ornamented with carvings, but also for making the facades of homes."
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Two Classic Paintings, 2005.
This paper describes and compares Agnolo Bronzino's "Portrait of Ugolino Martelli" and Rembrandt Harmenszoon van Rijn's "Aristotle" in an attempt to define the greatness of art.
1,100 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
The paper describes the older painting of the two masterpieces, which is by Agnolo Bronzino, officially called "Portrait of Ugolino Martelli", in which the painter captures the essence of the young man in the courtyard of the Martelli's villa; the arrangement of the right hand, face and left hand are almost a geometric proportion. The author points out that Rembrandt's "Aristotle" is a darker than Bronzino's portrait, the geographical difference between a sunnier Italy and a gloomier Holland; Bronzino's wonderful portrait, a masterpiece of its time, is of a real person; whereas, Rembrandt's painting is a more thoughtful work, a true "think piece" about the dead philosopher. The paper concludes that the greatness of these two painting is in the beholder's continued ability to see things as well as ideas and focus in the paintings, which is far more evident in "Aristotle".
From the Paper
"There is no hint of accuracy in the dark background. Does the bust of Homer sit on a pedestal in front of stairs leading to where? The Agora, the lecture hall? Unlike Bronzino, Rembrandt's attention is solely on the bust and the man. And, just to verify that this is indeed a model, one need to look at the rough hands perhaps a perfect portraiture of the model posing, perhaps a farmer or tradesman from the village. They are not, despite the ring, the hands of what one would consider a philosopher, someone absorbed in thought, in writing and speaking, without doing any handiwork."
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Europe: The Birthplace of Western Civilization, 2006.
This paper examines Europe's historical and cultural influences which led to the birth of western civilization.
1,119 words (approx. 4.5 pages), 4 sources, APA, $ 38.95
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Abstract
This paper analyzes the influences and contributions of European history and culture from the late 15th century to the mid-18th century and its impact on western civilization. The writer of this paper discusses and details the various scientific discoveries, political ideas, arts, philosophies and religious beliefs that had spread to other parts of the world and many modern civilizations, which had developed largely due to these influences. Democracy and nationalism became powerful political forces in Europe after the 1500s. The growth of the democratic movement developed because of the age of reason and its challenge of traditional authority. At the time that the Renaissance period was transforming Europe's art and the age of discovery, its physical and psychological geography and religious debates were changing the theological landscape. The age of reason began in the 1600s and lasted until the late 1700s. During this period, traditional European thinkers insisted that the use of reason was the only way to determine truth.
Table of Contents:
Social Changes
Political Changes
Religious Changes
Scientific Changes
Artistic/Cultural Changes
References
From the Paper
"Democracy and Nationalism became powerful political forces in Europe after the 1500s. The growth of the democratic movement developed because of the Age of Reason and its challenge of traditional authority. Nationalism, in turn, developed from strong feelings that the united people of each country in their fight for democracy. In the 1600's, the English people made the most important challenge since the Middle Ages against the power of kings in Europe. Following a civil war, they abolished the monarchy. In 1689, the English Parliament passed a Bill of Rights that increased its own authority, limited the power of the king, and guaranteed the liberty of the English people."
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The History of the Kylix, 2006.
This paper details the correlation between the kylix, a shallow stemmed two-handled drinking cup of ancient Greece and Greek mythology.
1,774 words (approx. 7.1 pages), 4 sources, APA, $ 57.95
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Abstract
The writer of this paper examines the historic significance of the kylix which is associated with ancient Greek celebrations and feasts. A kylix and its plural kylikes are defined as shallow stemmed two-handled drinking vessels used in ancient Greece. Much thought and attention to detail went into the painting of the interior of kylikes. The representations would be covered with wine and the scenes would be visible only partially, when the wine was tipped back into the mouth and eventually fully exposed when the liquid was consumed. The kylix lent an element of surprise and discovery that was a great source of celebration to the Greeks. This paper details the various contents and representations found on kylikes. Greek revelers thanked Dionysus, the Greek god of religion, for the spirits they were enjoying. For this reason, Dionysus was often the subject depicted on these drinking drinking vessels. Descriptive stories depicted in artistic form on the kylix was common among ancient Greeks. This paper describes several stories depicted on these artistic drinking vessels including that of Apollo and Koronis.
From the Paper
"Although Dionysus' divinity is asserted, he is depicted in human form. In this way, the inhabitants of Thebes believe him to be a man while Dionysus allows himself the pleasures of mortal being. Pentheus describes Dionysus in the form of a man: "They say there came a stranger hither, a trickster and a sorcerer, from Lydia's land, with golden hair and perfumed locks, the flush of wine upon his face, and in his eyes each grace that Aphrodite gives; by day and night he lingers in our maidens' company on the plea of teaching Bacchic mysteries." This mortal nature serves two purposes: the disguise of mortal being and the pleasures of mortal being. In The Bacchantes, Euripides' representation of Greek society can be found in Pentheus. Pentheus is the epitome of Greek society: he is rational, cultured, and encourages traditional conventions."
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Ancient Chinese Art, 2006.
Examines art from the Jiangsu dynasty and the Han dynasty and how they shed light on life during these times in Chinese history.
1,248 words (approx. 5.0 pages), 5 sources, MLA, $ 42.95
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Abstract
There are numerous dynasties in Chinese history, but the two that are focused on in this paper are the Jiangsu dynasty and the Han dynasty. There are thousands of years between these two dynasties and this results in very diversified art. A major concept in most of the Chinese art that we now have is about funerary rituals. The paper explains that by researching this art we can uncover clues about the past, and learn more about cultures that we did not know before. The paper looks at items such as a funerary jar, an incense burner and pottery.
From the Paper
"Time changes everything, and Chinese art is no exception. In Neolithic times most art was made out of pottery, and by the Han period they were using bronze. Pottery "must have been extremely difficult to make, let alone use, for in the succeeding Bronze Age the tradition died out completely" (Sullivan, 8). The use of bronze also gives example to the advancement of Chinese art. In the bronze period art is much more detailed and intricate, showing that the Chinese must have had access to much better resources and tools."
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The Renaissance Period and Spatial Awareness, 2006.
An analysis of concepts of space in the Renaissance period through an examination of William Shakespeare's "The Tempest" and Thomas More's "Utopia".
6,694 words (approx. 26.8 pages), 16 sources, APA, $ 152.95
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Abstract
This paper examines Renaissance art and also the works of William Shakespeare's "The Tempest" and Thomas More's "Utopia" in terms of the times that they were set and in relation to the art of that period and the concept of space. It centers upon the idea of spatial awareness and how it can be related not just to art but also the social and political aspect of it.
From the Paper
"This idea of the 'citizen-soldier' indicates that spatial arrangements not only demarcate and produce but actually validify political territory. It is this sense of political territory that is important to discussion of The Tempest, for just as Utopia is defined as political territory and placed in the New World, so critical debate on The Tempest recently has centred on the colonial aspects of the play. The parallels between Utopia and The Tempest are essential here. Both Utopia and Shakespeare's island have the quality of imaginative space. Utopia in its intense, almost symmetrical geography (see p.69) and the island in its obviously magical, theatrical qualities both suggest at this. Furthermore, both these imaginary islands retain idealistic qualities. This is obviously the main thrust of Utopia, or at least the second book of that text, and specific instances of such qualities punctuate The Tempest: references to the 'Golden Age' (II,i,172); Caliban's description of the 'Sounds, and sweet airs' of the island (see III,ii, 137-44); Gonzalo's insistence 'How lush and lusty the grass looks! How green!' (II,i, 55). Critical debate has also pointed up the Utopian scenario in varying ways, reading The Tempest as a form of pastoral romance and indexing specific parallels with the Utopian discourses found in Renaissance humanism such as More's. However, it is specifically in the combination of the idea of idealistic space with the idea of imaginative space that this paper is concerned. In its distinct, imaginary, spatialised Utopianism, The Tempest reveals the literal placing in the term locus amoenus - the siting (locus) inherent in Utopian fantasy, and the political importance of such a siting."
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Vincent Van Gogh, 2006.
This paper examines the life and artistic accomplishments of Vincent Van Gogh, as well as his introduction of the expressionist style of painting.
1,297 words (approx. 5.2 pages), 9 sources, APA, $ 43.95
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Abstract
The writer of this paper explores the life and artistic motivations of Vincent Van Gogh. Van Gogh moved to Paris in 1886 where he was exposed to the works of great artists such as Monet, Renoir Degas and Signac, which resulted in a dramatic shift to his usual style of painting. Van Gogh's subject matter had also changed, from dark, rugged peasants to more serene subjects. The artist created a new style of painting called expressionism, which symbolized the artists' inner feelings about the subjects he was painting. This paper discusses Van Gogh's various works of art which clearly show the inner turmoil the artist suffered during his lifetime.
From the Paper
"Near the end of his stay at Saint-Remy, Van Gogh's use of colors became more subdued. In "Wheat Field with a Reaper", Van Gogh used the reaper to symbolize death, as a figure toiling in the noontime heat, to hurry and get his tiresome chore finished. Van Gogh did not see death as a sad thing, in this painting he used a pure gold color to flood the work with light. Van Gogh left Saint-Remy in 1890 and spent the last two months of his life in Auvers-sur-Oise, a small picturesque village about twenty miles north of Paris. As his mental health worsened, Van Gogh suffered more severe bouts of depression, sometimes exploding in anger. After these episodes, he would go out into the fields and talk to himself."
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